Filmfarsi (Persian:فیلمفارسی, literallyPersian Film), is a term used inPre-revolutionary Iranian cinema criticism that was coined by Iranian film criticHushang Kavusi. The term is used to describe what was perceived as low-quality films mostly copied from theBollywood cinema and with poor plots, mostly arranged with dance and singing.[1][2]Filmfarsi were suppressed after theIranian Cultural Revolution by more strict laws on relations between men and women, as well as religious opposition to the content of the films. The suppression of theFilmfarsi genre encouraged theIranian New Wave of modern films in Iranian cinema. Manyof the Filmfarsi that survived the Iranian revolution did so thanks to the existence of illegalVHS copies.[3]
According to BBC's Yousef Latifpour (یوسف لطیف پور), the plots of manyFilmfarsi are based on "incredible accidents" or "exaggerated misunderstandings", where conflicts between tradition and modernism usually end "in favor of tradition".[4] WithinFilmfarsi, there existed unique genres of film such as "Jāheli" (جاهلی), described by some as "hyper-masculine", in which tough male characters would save women from "a life of disgrace", such as working as a prostitute or cabaret singer.[5][6] Other common genres of Iranian film prior to theIslamic Revolution includedthrillers, melodramas, musicals and action movies. While the films varied in theme, many of them shared common traits such as a "low production value" and "one-dimensional archetypes".[7]
The 1978Cinema Rex fire is often seen as the catalyst for the demise ofFilmfarsi; approximately 400 civilians were killed by four Islamic revolutionaries while attending a screening of the controversial movie "The Deer".[8][9][10] After Iran became anIslamic Republic in 1979, many commonly seen features ofFilmfarsi, such as women acting as an object of "sexual desire" or not wearing ahijab, were now frowned upon, and the genre was actively suppressed.[11][12]
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